• Raag Gaoti •


Sarodiya Rahul Bhattacharya describes the late-afternoon Gaoti as “an underutilised gem…a pleasant, fulfilled feeling…like enjoying a perfume without actually knowing why it’s so nice”. Also known as ‘Gawati’, the raga is often considered near-identical to Bheem (some say Bheem can be distinguished by its occasional use of komal ga in taar saptak, although this is also evident in some Gaoti renditions: e.g. Acharya Jayanta Bose‘s below). Straightforward audav ascents are balanced by sampurna descending lines which tend to run in ‘paired’ sequences (e.g. nS, DP, mP, Gm, RS).

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Aroha: SmGm, PGmPnS
Avroh: SPDP, mGPm, GmRnS

Chalan: e.g. GmPSn; SPD; PDmP; GmRnS; Sm; mPGmPnS; PnSPDP (Parrikar)


—Acharya Jayanta Bose (2013)—

[motifs & taans, e.g. 1:11] n(SnSn…) DPD; nnmPnS GGSnSG, m(g)SnS, G, m(g)SnS, GmPn S(n)S(n)S(n)S…


• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.


• Prakriti: Khamaj thaat, Khamaj, Jhinjhoti, Kambhoji, Khambavati, Sakh


–Swara Geometries–

Core form: SRGmPDnS
Reverse: SRgmPdnS (=Darbari)
Negative: 2-2-3-2-3 (e.g. Bhupali)
Imperfect: 1 (Ga)
Detached: none
Symmetries: mirror (r—P)
Murchanas: Bilawal set

Quirks: maximal‘ (swaras are optimally ‘spread out’)


–Global Translations–

Carnatic: ~Harikambhoji
Jazz: Mixolydian
Pitch classes (‘fret-jumps’):

o • o • o o • o • o o • o


• Tanpura: Sa–Pa
• Names: Gaoti, Gawati, (~Bheem)


—Shivkumar Sharma (1997)—



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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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